Some 'time ago' and I we were to Biscottino MOTHER (Museum of Contemporary Art Donna Regina). I remember well that one of the works that we "hit '" and more' was "Egg No. 29" of that Piero Manzoni. Now the first person to comment on the artist's work I show an image of such a work of art and briefly leave you some thoughts ... Recalling a famous art critic so 'commented on an article: " be noted, however, for beauty and historical importance, the four Achrome and Egg n.29 survived the performance of Piero Manzoni's 1960 consumption of art " And now some explanation on the 'Opera' but with the clarification that, when we went to visit the exhibition, no one of us was aware of the "concept" below, as the site website of the museum was still under construction and although I suffered the art I was not aware of the artist. I'm talking about the concept just because we speak of "Conceptual Art". The conceptual artists bring to the fore the thought and the concept over the visual impact and emotional. The music and the visual arts have contaminated each other, but the conceptual dimension has become more important than aesthetics and perception. One of the fundamental principles of conceptual art is also the stand against the rules of the market, the art of capitalism. In fact, it represents the world of consumption that changes the art works in merchandise to sell. The art, however, according to the conceptual artists, has be construed as a representation of the ideas man.
Piero Manzoni's reflection on the uselessness of the framework culminates in actions intended to debunk the value of the work of art and art making. After the myth technical drawing, creative action is resolved in the pure gesture which Manzoni, mundane, sarcastic or irreverent, qualifies the artistic act. The imprint of the artist places a high value to a subject in itself insignificant. If the work of art no longer exists as an object commercialized, the artist questions about what are the meanings and modalities of its "consumption" by the public. On June 21, 1960, during the dynamic performance of the public consumption of art devour the art, Piero Manzoni gives the impression of his thumb on some boiled eggs and give the public something to eat. He eats an egg. Through the egg-relic, consecrated by contact with the body of the artist, the audience participates in art, entering into communion with the physical (magical, heroic) the artist. The work is eaten, it introduces the viewer in his own body as art is introduced into an individual that covers the aspects and effects, Manzoni also consumes the egg, then feeds his work and if itself. Desecrated in Thus, the consumption of art, Manzoni get to erase the vestiges of idolatry countless artistic and demythologizing the artifact in 1961 through the production of Artist's Shit.
The August 12, 1961 Piero Manzoni presents for the first time in public the cans of Artist's Shit ("content gr.30 net, preserved in its natural, manufactured and canned in May 1961). The price fixed by the artist for 90 cans (strictly numbered) correspond to the current value of gold.
The association between analysts and works of art (and one gold and feces) is also a recurring theme in the psychoanalytic literature that can Manzoni be implemented through the reading of Jung. The novelty of Piero Manzoni have connected these suggestions is to consider the role of the artist in front all'autoreferenzialità work of art.
Now given the information necessary to pass a few comments ... The art evolves so 'as it evolves over the world ... agree more that it would be more 'no sense to paint the Madonna (not the pop idol version) and absolutely must deal with reality'. I provocations are fine artist, and perhaps I was also in 1960 I would have appreciated the gesture and understood the concept. But what's the point Matt a an egg in a glass case and expose an art museum? I know that we are somewhat exaggerated ... in a museum ', is always an object of witness an event, but gentlemen and not' art ... It is not me to say it, I also said Mr. Artist ... conceptual artists leave the visual and emotional concepts and rely on ... and the concept 'of something lost that can not' be understood if not directly expressed ... a book ... an exhibition where you eat ... but what is the point then an egg in a glass case? And even if I knew the concept before, go to the museum and see the work live sensezione then I would have left? No ...
So my dear contemporary artists and critics, express everything you want, enriched our mediocrity and then some fun and see fool (or say a bunch of idiots) put your work in art and call it a bulletin board to charge a ticket to see him. Why do not you idiots are undoubtedly others. As for me I prefer the old dear to "Stendhal Syndrome", go to a museum where there are works that even though I know very well the last detail, their view always fills me with emotion. And to you my dear Alva Noto, while you tried something new, but you'll be adapted to the times and have made money and convinced Sakamoto playing with you. The show will also liked me, but I must confess that I would have preferred something more 'classic and no doubt more' artistic ...
Conceptual art call it rather the expression concepts of art and leave the word to something else, something that is not the domain of a select few (fools). In conclusion I would say that as usual, Matt Groening gives us' the correct view of conceptual ... for those who missed the episode 9F21 of The Simpsons is called the "Homer's Barbershop Quartet" Homer asks where
'Barney, Barney, and Seymour replied that he is with his new girlfriend, a' Japanese Conceptual Artist ". Barney goes to her, and expresses its concern that their music is becoming stagnant. Then made him listen to his demo with the new "directions" which consist of a ripatizione female voice that says "Number Eight" followed by a belch. ... MORE ' CONCEPT OF THIS ...
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